Anthro 214; AE 214; HA 214

Re-Presenting the Past:Archaeology through Image and Text

Profs. Sheila Bonde (History of Art and Architecture) and Stephen Houston (Anthropology)

W. 3:00- 5:20 PM214 S01 List Art Bldg. 220

Course wiki : http://proteus.brown.edu/representingthepast/home

Contact information

Prof. Bonde, Sheila_Bonde@brown.edu; (o) 401) 863-2600; office hours: Horace Mann 202, Mondays 2:30-3:00. (following open hours of 1-2:30)

Prof. Houston, Stephen_Houston@brown.edu; (h) 401-270-6195 (preferred); office hours: TTh 4:00 - 5:00, Giddings Rm. 109

Introduction

The archaeological past exists for us through intermediaries that vary widely in form and nature. Some are written works, the stories or descriptions about what the past was like, often to bold claims of truthfulness or validity (Hodder and Hutson 2003). Others are visual, if frequently combined with writing. These consist of the drawings, paintings, tables, “powerpoints,” tableaux, recreations, reconstructions or consolidations, plays, operas, graphs, bar-charts, comics and caricature, photographs, videos, and computer visualizations. Each displays a considered image of the past.

As tools, these devices allow scholar and general audience alike to access past forms of human existence through graphic descriptions of artifacts, deposits, buildings. At a more ambitious level, they do more. They purport to capture and revivify past realities through “snapshots” or physical reconstructions of past ways of life. This seminar explores the means and strategies by which the archaeological past comes to us. All periods, all areas fall within the purview of this class, which looks in detail at the process by which material culture is digested and re-presented.

Premises

(1) Representations of the archaeological past are examples of interpretation. They have a history of past models, present motivation, and future objectives that permit a deeper understanding of archaeology as an historical practice that changes over time. At all levels, representation involves meaning and choice, some of which may not be clear to those creating texts and images.

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(2) Some representations of the archaeological past are objectively and subjectively better than others. There can be the possibility of improved representation that does not simply adhere to the analytical preoccupations of any one generation of scholars.

The first point builds on the recent idea that representation in archaeology, either written or graphic, is a matter of choice and thus inherently subject to the times in which they exist (Moser 1998; Jameson et al. 2003; Smiles and Moser 2005). A representation will accord with the background of the person creating that image, or the audience for which the image was intended. In this respect, archaeology is a discipline that can be studied much as Bruno Latour’s work on the conduct and practice of “hard science” (Latour 1987): much that appears to be “self-evident” or “logical” is not; his more recent engagement with Actor-Network Theory suggests alternative ways of looking at interactions between things, people, and their representations (e.g., http://www.lancs.ac.uk/fass/centres/css/ant/antres.htm). This movement has been extended by a group out of Stanford under the rubric of “symmetrical archaeology.”

The second rests on the more-established premise that the craft of visual representation deepens knowledge. Craft can be refined in archaeology with the goal of eliciting deeper evidence from the material world, its textual accompaniments in historical settings, and the interpretations taken from both. Ideally, the act of creating an image compels the eye to become more exact and the brain to develop more attention to unremarked detail. They sharpen powers of observation. Visualizations should not only change – the historical postulate of point #1 – they should get better, as implied in point #2. According to Edward Tufte (1990, 1997, 2001, 2003, http://www.edwardtufte.com/tufte/), this is how clarity triumphs over obscurantism and falsity.

Background

The subject of visual representation is rich, although with a history that varies greatly by region or specialty. Prominent archaeologists with training in drafting were among the first to explore the subject, as in Stuart Piggott’s Antiquity Depicted (1978), who drew on the inspiration of Heywood Sumner’s Ancient Earthworks of Cranborne Chase (Cunliffe 1985; Sumner 1988). The nature of reconstruction as a means of displaying buildings goes back even further, to the interventions of Viollet-le-Duc (Murphy 2000) and, earlier still, to engravings by Giovanni Piranesi. Textbooks of archaeological and forensic illustration are themselves charged with unwitting cultural and historical statements (Addington 1986; Adkins and Adkins 1989; Di Grazia 1991; Dillon 1985; Steiner 2005; Taylor 2000). Such images arise in part from contact with other modes of scientific illustration, which grapple with similar problems of aesthetics, clarity, and claims to veracity (Baigrie 1997; Blumenfeld-Kosinski 1990; Cazort et al. 1997; Dickenson 1992; Lynch and Woolgar 1990; Roberts and Tomlinson 1992).

The physical reproduction of the past at places like Williamsburg and, in Europe, “Heritage sites,” involves decisions of comparable complexity (Handler and Gable 1997; Lowenthal 1996). Images of hominin evolution are among the most thoroughly canvassed, often from a feminist perspective, for what they reveal of attitudes about past

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and modern humans (Moser 1998; Wiber 1997). Finally, each region has its own, growing literature on archaeological representation, but, as yet, with relatively little, mutual contact (Baudez 1993). The sole exceptions are two, recent edited volumes. One is on archaeology and the humanities, with essays that span a far broader reach than visual representation (Jameson et al. 2003). The other is pioneering, but heavily focused on Europe and, in particular, the United Kingdom (Smiles and Moser 2005). Much remains to be done. This seminar will result in a series of essays, prepared by students, on aspects of representation. These will be posted on the web-site of the Institute for Archaeology and the Ancient World.

Research Questions

-- What are the goals of representation in archaeology?-- How can representation sharpen or obscure understanding of the past?-- Is there a recoverable past or simply practices that relate “actualistic” objects to

evolving (re)presentation? -- What is the history of such representation in a particular area? -- How does this kind of representation relate to photography and its choices? -- How does representation relate to the history of scientific illustration in general?  To

the tension between aesthetics and clarity of information? -- Do scale and material affect representation? -- What are the ethics of representation?-- Is “precision” a cultural construct? -- How are decisions made about what to emphasize, what not to accent? -- What is the relation of image to text, and vice versa? -- What role do color and other sensory attributes have in representation? -- What human relations (social, religious, gender-based) are stressed in representation? -- What is the future of representation in archaeology?

In addition, the seminar will be strengthened by a conference on the subject of graphic representation. This will be international in scope, drawing on specialists in many parts of the world. They, too, will be asked to address the questions posed above. A few visitors, particularly those living in the Northeast, will be invited to return to the seminar for further presentation and discussion.

Requirements

Work 1: “Collaborative presentations” (two joint-presenters, on topics to be arranged by instructors; presenters will pick brief paper or relevant work for distribution week before class) – schedule: throughout term

Work 2: “Under-study” of topics at symposium, research on particular speaker and topic – Schedule: Due March 21

Work 3: Term paper regarding one tradition/region of representation; or a project of representation (1 per student) – schedule: See below

Class participation and evidence that readings have been perused!

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Schedule for Work 3, term paper or representation project:

Topic: Feb. 14th Outline and bibliography: March 14th Final draft: April 11th Final version with Presentation: April 25th

Required and Collected readings:

Available on course wiki: http://proteus.brown.edu/representingthepast/home For reasons of copyright, readings will require a password in a “closed” forum, http://proteus.brown.edu/representingthepast2/home, with a password of “repast.”Readings are divided into two parts, a primary section of mandatory readings and a secondary section of background, voluntary readings for those wishing to explore a subject in greater depth for a paper or presentation. A fuller bibliography may be found at the end of this syllabus.

n.b.: The instructors reserve the right to continue tinkering with the list of readings and topics throughout the semester!

Web-links (FYI)

http://www.adgame-wonderland.de/type/bayeux.php: story creation based on Bayeux

http://anthropologylabs.umn.edu/html/vr_presentations.html: work of visualization lab at Minnesota

http://www.archatlas.dept.shef.ac.uk/: a Sheffield web-site on imaging of large-scale archaeological processes

http://www.archaeology.org/online/reviews/apocalypto.html: Mayanist reaction to Apocalypto by M. Gibson; see response in http://www.beyondchron.org/articles/Reassessing_Mel_Gibson_s_Apocalyto_4074.html

http://www.cs.nott.ac.uk/~sxi/papers/vast01.pdf: experiments in virtual reality for archaeologists

http://www.cultivate-int.org/issue9/archeoguide/: accessing sites with computer augmentation.

http://archive.cyark.org/map/Tikal: a foundation concerned with archeological imaging

http://www.arius3d.com/: 3D-scanning, with archaeological applications

http://atl.ndsu.edu/projects/: visualization lab at North Dakota State

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http://www.cast.uark.edu/re_search.htm: U of Arkansas visualization lab; note Swartkrans and historical preservation models

http://www.cbc.yale.edu/courseware/swingarchaeo.html: example of archaeo-simulation with parametric constraints

http://www.cvrlab.org: UCLA virtual reality lab, with stunning views of Rome

http://www.elsewhere.org/pomo: mortifying machine for generating archaeo-prose!

http://www.famsi.org/reports/03029/index.html: report on the gendered practice of archaeological representation, seen through case-study

http://www.famsi.org/research/piedras_negras/pn_project/piedras_negras.htm: incorporates video footage on-line

http://formaurbis.stanford.edu: formidable project devoted to the Severan marble plan of Rome

http://graphics.cs.brown.edu/research/sciviz/archaeology/archave/index.html: Brown’s own archaeo-visualization project; see written discussions, http://graphics.cs.brown.edu/research/sciviz/archaeology/archave/Scientific_Archaeology.pdf, http://graphics.cs.brown.edu/research/sciviz/archaeology/archave/viz2000.pdf, http://graphics.cs.brown.edu/research/sciviz/archaeology/archave/viz2001.pdf.

http://www.iath.virginia.edu/images/pdfs/SantaMariaPrrojAdobe.pdf: virtual reality and ancient Rome

http://www.icomos.org/docs/venice_charter.html: the Venice accords on preservation, conservation, etc.

http://infiltration.org: where we are not supposed to go!

http://www.itabc.cnr.it/f_tutto.htm: Italian team for the application of technology to cultural treasures (beni culturali)

http://www.kvl.cch.kcl.ac.uk/index.html: University of London visualization lab

http://www.learningsites.com/: nearby company specializing in visualizations of the past; see also http://www.vizin.org/

http://www.simit.it : lab that supplies modeling programs for 3-D imaging

http://www.thebanmappingproject.com/.: high-quality digital interface, Egyptological mapping; see also http://www.designinteract.com/features/tmp/

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http://traumwerk.stanford.edu:3455/Symmetry/817: essay from Chris Witmore on relation of things to people

http://traumwerk.stanford.edu:3455/35/Home: essay on mediation with Mesoamerican site of Teotihuacan, also from Stanford group; see http://humanitieslab.stanford.edu/Metamedia/Home

https://tspace.library.utoronto.ca/citd/holtorf/0.1.html: hypertext publication on “living history” of megaliths; see also https://tspace.library.utoronto.ca/citd/holtorf/Paperless_Thesis.pdf

http://www.uc.edu/news/NR.asp?id=3757: University of Cincinnati imaging team; see also http://www.cerhas.uc.edu/ also http://earthworks.uc.edu/symposium/topics.htm; related conference at http://www.bath.ac.uk/holburne/symposium/ruins.html

http://www.usc.edu/dept/LAS/wsrp/information/article.html: technology of visual refinement for ancient texts; see also: http://www.hpl.hp.com/research/ptm/se.html

http://www.utexas.edu/courses/ancientfilmCC304/: website for course on “accuracy” of films about the ancient world

http://www.vroom.org.au/index.asp: Australian initiative for visualization

http://polo.services.brown.edu:8080/exist/monarch/index.html: http://www.wesleyan.edu/monarch/: web-publications by Sheila Bonde and Clark Maines on Saint-Jean-des-Vignes archaeology, text and architecture

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Schedule of Class Meetings and Reading Assignments:

Jan. 24: Introduction and Orientation

Jan. 31: Object-ivity, Subject-ivity, Aesthetics, Precision, Things, Interpretation

Work 1 (case studies): -- evaluate Ian Hodder’s Leopard’s Tale as work of interpretation (http://www.catalhoyuk.com/ (could be compared briefly) Balter, M. (2005) The Goddess and the Bull: Catalhoyuk: An Archaeological Journey to the Dawn of Civilization, Free Press. http://www.michaelbalter.com)-- evaluate new understandings of objects and subjects in archaeology (see http://traumwerk.stanford.edu:3455/Symmetry/817; biblio in http://traumwerk.stanford.edu:3455/Symmetry/26)

Readings (Primary): Daston, Lorraine, and Peter Galison.1992. “The Image of Objectivity.” Representations 40:81-128.

Hodder, Ian.1998. “Always Momentary, Fluid and Flexible’: Towards a Reflexive Excavation

Methodology. Antiquity 71:691-700.

Latour, Bruno. (http://www.bruno-latour.fr/articles/article/063.html, also: http://prelectur.stanford.edu/lecturers/latour/latouron.html) 1996. “On Interobjectivity.” Mind, Culture, and Activity.

Piggott, Stuart1978 Antiquity Depicted: Aspects of Archaeological Illustration. London: Thames and

Hudson. (short!)

Wise, M. Norton, ed.1995 Excerpts by editor from The Values of Precision. Princeton: Princeton University

Press.

Witmore, Christopher2004. “On Multiple Fields, Between the Material World and Media: Two

Cases from the Peloponnesus, Greece.” Archaeological Dialogues 11(2):133–164.

Readings (Secondary):

Ankersmit, F. R. 2001. Historical Representation. Stanford: Stanford University Press.

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Banks, Marcus, and Howard Morphy, eds.1997. Rethinking Visual Anthropology. New Haven: Yale University Press.

Crosby, Alfred W. 1997. The Measure of Reality: Quantification and Western Society, 1250-1600.

Cambridge: Cambridge University Press.

Gamble, Clive.1992 “Reflections from a Darkened Room.” Antiquity 66:26-31.

Ginzburg, Carlo.1989. “Montrer et citer.” Le Débat 56:43-54.

Hacking, Ian.1983. Representing and Intervening. Cambridge, MA: Harvard University Press.

Hall, S., ed.1997. Representation: Cultural Representations and Signifying Practices. London:

Sage.

Hennion, Antoine, and Bruno Latour.1993. “Object d’art, object de science. Note sure les limites de l’anti-fétichisme.”

Sociologie de l’art 6:7-24.

Hodder, Ian, Michael Shanks, Alexandra Alexandri, Victor Buchli, John Carman, Jonathan Last and Gavin Lucas, eds., 1995. Interpreting Archaeology: Finding Meaning in the Past, London: Routledge,

introduction and part 1.

Lucas, G.M.L. (ed.)2001. Critical Approaches to Fieldwork: Contemporary and Historical Archaeological

Practise. London: Routledge

Lynch, Michael, and Steve Woolgar, eds.1990. Representation in Scientific Practice. Cambridge, MA: MIT Press.

Molyneux, B. L., ed.1997. The Cultural Life of Images: Visual Representation in Archaeology. London:

Routledge, introduction.

Smiles, Sam, and Stephanie Moser, eds.2005. Envisioning the Past: Archaeology and the Image. Oxford: Blackwell.

Tufte, Edward R. 1997. Visual Explanations: Images and Quantities, Evidence and Narrative. Cheshire:

Graphics Press.

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2001. The Visual Display of Quantitative Information. Cheshire: Graphics Press.

Willats, J. 1997. Art and Representation: New Principles in the Analysis of Pictures. Princeton:

Princeton University Press.

Feb. 7: Writing Archaeology: The Monograph, Article,Web-“publication,” Biography/Autobiography

Work 1 (case study): -- pick four archaeological monographs, contrast/evaluate as cultural and

historical constructions -- select three autobiographies/biographies in archaeology, evaluate

Readings (Primary):

Joyce, Rosemary.2002 Chaps 1 and 6 in The Languages of Archaeology. Oxford: Blackwell.

Hodder, Ian.1989. “Writing Archaeology Site Reports in Context.” Antiquity 63:268-274.1994. “The Narrative and Rhetoric of Material Culture Sequences.” World Archaeology

25(2):268-282.

Pluciennek, Mike.1999. Archaeological Narratives and Other Ways of Telling. Current Anthropology

40(5):653-678.

Readings (Secondary):

Baudez, Claude François.1993. Jean-Frédéric Waldeck, peintre: le premier explorateur des ruines mayas. Paris:

Editions Hazan.

Coe, Michael D.2006. Final Report: An Archaeologist Excavates his Past. London: Thames and

Hudson.

Daniel, Glyn.1986. Some Small Harvest: The Memoirs of. Glyn Daniel. London: Thames and

Hudson.

Desmond, Lawrence G., and P. M. Messenger.1988 A Dream of Maya: Augustus and Alice Le Plongeon in Nineteenth-Century

Yucatan. Albuquerque: University of New Mexico Press.

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Drower, Margaret S.1995. Flinders Petrie: A Life in Archaeology. Madison: University of Wisconsin Press.

Fagan, Brian.2001. Grahame Clark: An Intellectual Biography of an Archaeologist. Boulder, CA:

Westview.

2006. Writing Archaeology: Telling Stories about the Past. Walnut Creek, CA: Left Coast Press.

Hawkes, Jacquetta 1982. Adventurer in Archaeology: The Biography of Sir Mortimer Wheeler. New York:

St. Martin’s Press.

Jennings, Jesse D.1994. Accidental Archaeologist: Memoirs of Jesse D. Jennings. Salt Lake City:

University of Utah Press.

Feb. 14: Representing People and the Ethics of Representation: Nationalisms, Ethnicities, Points of View

*Topic for Work 3 Due*

Work 1 (case studies):-- pick a tradition or focus in archaeology: explore over time how people are represented-- pick a country or group from the past, explore over time how depicted

Readings (Primary):

Ardren, Traci2006. “Mending the Past: Ix Chel and the Invention of a Modern Pop Goddess.”

Antiquity 80:25-37.

Berman, Judith C.1999. “Bad Hair Days in the Paleolithic: Modern (Re)Constructions of the Cave Man.”

American Anthropologist 101(2):288-304.

Deitler, Michael.1994 "Our Ancestors the Gauls": Archaeology, Ethnic Nationalism, and the

Manipulation of Celtic Identity in Modern Europe. American Anthropologist 96(3):584-605.

McDavid, C.2002. “Archaeology that Hurts: Descendents that Matter: A Pragmatic Approach

to Collaboration in the Public Interpretation of African-American archaeology,”

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World Archaeology 34(2):303-14.

Pratt, Stephanie.2005 “The American Time Machine: Indians and the Visualization

of Ancient Europe” in Smiles, Sam, and Stephanie Moser, eds. Envisioning the Past: Archaeology and the Image. Oxford: Blackwell.

Readings (Secondary):

Bohrer, Frederick N.2003. Orientalism and Visual Culture: Imagining Mesopotamia in Nineteenth-Century

Europe. Cambridge: Cambridge University Press.

Cowling, Mary. 1989. The Artist as Anthropologist: The Representation of Type and Character in

Victorian Art. Cambridge: Cambridge University Press.

Diaz-Andreu, Marguerita and Timothy Champion, eds.,1996. Nationalism and archaeology in Europe, Boulder, Colo: Westview Press,

introduction and chap. 4.

Dickenson, Victoria.1998. Drawn from Life: Science and Art in the Portrayal of the New World. Toronto:

University of Toronto Press.

Elsner, Jas.2005. Roman Eyes: Visuality and Subjectivity in Art and Text. Princeton: Princeton

University Press.

Jahoda, G.1989. Images of Savages: Ancient Roots of Modern Prejudice in Western Culture.

London: Routledge.

Moser, Stephanie.1996. “Visual Representation in Archaeology,” chap. 6 in Baigrie, Brian, ed.

Picturing Knowledge: Historical and Philosophical Problems Concerning the Use of Art in Science. Toronto: University of Toronto Press.

1998. Ancestral Images: The Iconography of Human Origins. Phoenix Mill: Sutton.

Mark P. Leone, et al., 1995. “Can an African-American historical archaeology be an alternative

voice?” chap. 14 in Hodder, Ian, Michael Shanks, Alexandra Alexandri, Victor Buchli, John Carman, Jonathan Last and Gavin Lucas, eds., Interpreting Archaeology: Finding Meaning in the Past, London: Routledge.

Privateer, Paul, “Romancing the Human,” chap. 1 in Smiles, Sam, and Stephanie Moser,

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eds.2005. Envisioning the Past: Archaeology and the Image. Oxford: Blackwell.

Smiles, Sam1994. The Image of Antiquity: Ancient Britain and the Romantic Imagination.

New Haven: Yale University Press.

Feb. 21: Mapping Archaeology: Recording Sites and the Landscape

Work 1 (Case Studies):-- pick 1 site, evaluate how mapped, understood over time-- pick one region, evaluate how mapped, understood over time

Readings (Primary):

Bradley, Richard. 1997. “To See is to have Seen”: Craft Traditions in British Field Archaeology. In B. L.

Molyneaux, ed., The Cultural Life of Images: Visual Representation in Archaeology, 62-71. London: Routledge.

Fowler, Peter1995. “Writing the Countryside,” chap. 13 in Hodder, Ian, Michael Shanks,

Alexandra Alexandri, Victor Buchli, John Carman, Jonathan Last and Gavin Lucas, eds., Interpreting Archaeology: Finding Meaning in the Past, London: Routledge.

Lazzari, M.2003. “Archaeological Visions: Gender, Landscape, and Optic Knowledge.” Journal of

Social Archaeology 3(2):194-222.

Mundy, Barbara E.1996. Excerpts from The Mapping of New Spain: Indigenous Cartography and the

Maps of the Relaciones Geográficas. Chicago: University of Chicago Press.

Romano, David G., N. Stapp, and M. Davison2006 “Mapping Augustun Rome: Towards the Digital Successor.” In Haselberger,

Lothar, and John Humphrey (eds.) Imaging Ancient Rome: Documentation—Visualization—Imagination. Journal of Roman Archaeology, Supplementary Series No. 61:271-282.

Readings (Secondary):

Ambroziak, Brian M., and Jeffrey R. Ambroziak.

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1999. Infinite Perspectives: Two Thousand Years of Three-Dimensional Mapmaking. Princeton: Princeton Architectural Press.

Black, Jeremy. 1997. Maps and History: Constructing Images of the Past. New Haven: Yale

University Press.

Bosselmann, P.1998. Representations of Places: Reality and Realism in City Design. Berkeley:

University of California Press.

Cosgrove, Denis, and Stephen Daniels, eds.1988. The Iconography of Landscape: Essays on the Symbolic Representation, Design,

and Use of Past Environments. Cambridge: Cambridge University Press.

Feb. 28: Photography: Fixed and Streamed Images

Work 1 (Case Studies):-- pick and evaluate a tradition of photography in one region or one large site-- evaluate the role and potential of video in a particular site, excavation, mapping project

Readings (Primary):

http://www.famsi.org/research/piedras_negras/pn_project/piedras_negras.htm

Bohrer, Frederick.2005. “Photography and Archaeology,” in Smiles, Sam, and Stephanie Moser, eds. Envisioning the Past: Archaeology and the Image. Oxford: Blackwell.

Clarkson, Persis B.1998. “Archaeological Imaginings: Contextualization of Images,” in David S.

Whitely, ed., Reader in Archaeological Theory: Post-processual and Cognitive Approaches, London and New York: Routledge, pp. 119-132.

Dorrell, P.1994. Excerpts from Photography in Archaeology and Conservation. 2nd ed.

Cambridge: Cambridge University Press.

Shanks, Michael. 1997 “Photography and Archaeology,” chap. 5 in Molyneux, B. L., ed.

The Cultural Life of Images: Visual Representation in Archaeology. London:Routledge.

Readings (Secondary):

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Bourdieu, Pierre1990. Photography: A Middle-Brow Art. Cambridge: Polity Press

Mar. 7: Representing Objects and Buildings

Work 1 (Case Studies):-- pick and evaluate the representation of a category of artifact (by archaeologists or

anciently)-- pick and evaluate the representation of a building or set of buildings (by archaeologists

or anciently)

Readings (Primary):

http://polo.services.brown.edu:8080/exist/monarch/index.html: http://www.wesleyan.edu/monarch/

Arnold, Dana, “Unlearning the Images of Archaeology,” chap. 5 in Smiles, Sam, and Stephanie Moser, eds.2005. Envisioning the Past: Archaeology and the Image. Oxford: Blackwell.

Dixon, Susan M. 2005 “Illustrating Ancient Rome” in Smiles, Sam, and Stephanie Moser, eds.

Envisioning the Past: Archaeology and the Image. Oxford: Blackwell.

Houston, Stephen D.1998. “Classic Maya Depictions of the Built Environment.” In Function and Meaning in

Classic Maya Architecture, ed. S. Houston, pp. 333-372. Washington, DC: Dumbarton Oaks.

Millette, D.1998. “Textual Imaginations: Vitruvius in Archaeological [Re]constructions.

www.shef.ac.uk/assem/3/3millete.htm

Readings (Secondary):

Adkins, Lesley, and Roy Adkins.1989. Archaeological Illustration. Cambridge: Cambridge University Press.

Gibson, Sheila1991 Architecture and Archaeology: The Work of Sheila Gibson. Rome: British School

at Rome.

Haselberger, Lothar and John Humphrey, eds., 2006. Imagining Ancient Rome: Documentation, Visualization, Imagination,

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Journal of Roman Archaeology, suppl. series # 61, Portsmouth, RI.

Novitski, G. J.1998. Rendering Real and Imagined Buildings: The Art of Computer Modeling from the

Palace of Kublai Khan to Le Corbusier’s Villas. Gloucester, MA: Rockport.

Rodwell, Warwick, 1981. The Archaeology of the English Church. London: Batsford, esp. chap. 6.

Mar. 14: Workshop Class

*Outline and Bibliography Due for Work 3*

March 16th -17th Conference: Re-Presenting the Past: Archaeology through Image and Text, Organizers: Sheila Bonde and Stephen Houston

Mar. 21: Critical Discussion of Conference

*Work 2 Due*

Mar. 28: Spring Recess

Apr. 4: Virtual Realities, Avatars, Simulation

Work 1 (Case Studies):-- evaluate a work of “predictive” simulation -- evaluate an example of VR in archaeology

Readings (primary):

Favro, Diane2006 “In the Eyes of the Beholder: Virtual Reality Re-Creations and Academia.”

Journal of Roman Archaeology, Supplementary Series 61:321-334.

Gillings, Mark.2005. “The Real, the Virtually Real and the Hyperreal: the Role of VR in

Archaeology,” chap. 12 in Smiles, Sam, and Stephanie Moser, eds. Envisioning the Past: Archaeology and the Image. Oxford: Blackwell.

Horsfeld, PeterThe ethics of virtual reality: the digital and its predecessors.http://www.wacc.org.uk/wacc/publications/media_development/2003_2/the_ethics_of_virtual_reality_the_digital_and_its_predecessors

Kohler, Timothy A. Kohler, George J. Gumerman,

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and Robert G. Reynolds.2005 “Simulating Ancient Societies.” Scientific American 76-84.http://www.wsu.edu/~village/Kohler%20et%20al%5B1%5D.%20SciAm.pdf

Kenderdine, Sarah. 2004. Avatars at the Flying Palace Stereographic panoramas of Angkor Cambodia. ICHIM Berlin.

Readings (Secondary):

http://www.asu.edu/clas/shesc/projects/medland/files/allen2006_saa.pdf; http://www.asu.edu/clas/shesc/projects/medland/files/Mayer_etal2006%20ASU.pdf; http://www.asu.edu/clas/shesc/projects/medland/files/barton&sargoughian2005a.pdf , http://www.wsu.edu/~village/FrontPage/Assets/SAA05.pdf, http://www.wsu.edu/~village/Johnson%20et%20al.%20AA%202005.pdf

Bárcelo, J., M. Forte, and D. Sanders, eds. 2000. Virtual Reality in Archaeology. Oxford: BAR International Series.

Bateman, Jonathan2000 “Immediate Realities: An Anthropology of Computer Visualization in

Archaeology.” Internet Archaeology 8. http://intarch.ac.uk/journal/issue8/bateman_index.html.

Beekman, Christopher S. and William W. Baden (eds.)2005. Nonlinear Models for Archaeology and Anthropology: Continuing the

Revolution. Aldershot, U.K.: Ashgate Press.

Grau, O.2003. Virtual Art: From Illusion to Immersion. Cambridge: MIT Press.

Lansing, S.2003. “Complex Adaptive Systems.” Annual Review of Anthropology 32:183-204.

Pollard, J., and M. Gillings.1998. “Romancing the Stones: Towards a Virtual and Elemental Avebury.”

Archaeological Dialogues 5:143-164.

Yin Jin, Michael.2006. “Extending the Self: The Ethics of Virtual Reality.” Stanford Scientific Review

3(1).

Apr. 11: Pastland at Museums and Sites: Archaeology as Tourism and Theme Park; Hollywood and the Past

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*Final Draft Due, Work 3*

Work 1 (Case Studies): -- evaluate the display of the past in a museum-- evaluate an example of consolidation/reconstruction on-site

Readings (Primary):

http://www.archaeology.org/online/reviews/apocalypto.html

http://www.cultivate-int.org/issue9/archeoguide/

Holtorf, Cornelius.2005. Excerpts from From Stonehenge to Las Vegas. Archaeology as Popular Culture.

Walnut Creek: Altamira Press

Meskell, Lynn.2002 Negative Heritage and Past Mastering in Archaeology. Anthropological

Quarterly 75(3):557-574.

Moser, Stephanie.2006. Wondrous Curiosities: Ancient Egypt at the British Museum. Chicago: University

of Chicago Press.

Piccini, Angela.1996 “Filming Through the Mists of Time: Celtic Constructions and the Documentary

Angela Piccini.” Current Anthropology 37(1), Supplement: Special Issue: S87-S111.

Readings (Secondary):

Murphy, Kevin D. 2000. Memory and Modernity: Viollet-le-Duc at Vézelay. State College: Pennsylvania

State University Press.

Handler, Richard, and Eric Gable. 1997. The New History in an Old Museum: Creating the Past at Colonial Williamsburg.

Durham: Duke University Press.

Jameson, John H. ed.2004. The Reconstructed Past: Reconstructions in the Public Interpretation of

Archaeology and History. Walnut Creek: Altamira.

Lowenthal, David.1996. Possessed by the Past: The Heritage Crusade and the Spoils of History. New

York: Free Press.

17

Phillips, James E.2005 “To Make the Dry Bones Live,” chap. 4 in Smiles, Sam, and Stephanie Moser,

eds. Envisioning the Past: Archaeology and the Image. Oxford: Blackwell.

Russell, Lynnette.1997 “Focusing on the Past: Visual and Textual images of Aboriginal Australia in

Museums,” chap. 11 in Molyneux, B. L., ed. The Cultural Life of Images: Visual Representation in Archaeology. London: Routledge.

Solomon, Jon.2001. The Ancient World in the Cinema. Rev. ed. New Haven: Yale University Press.

Weeks, Jim.2003. Gettysburg: Memory, Market, and an American Shrine. Princeton: Princeton

University Press.

Wyke, Maria.1997. Projecting the Past: Ancient Rome, Cinema, and History. London: Routledge.

Apr. 18: Preparation for Student Conference (fieldtrip to Plimouth Plantation)

Apr. 25: Student Conference and Conclusions

*Final Version of Work 3 Due*

18

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